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Jean Louis Andre Theodore GericaultPassage du Mont Saint-Bernard1822
1822
About the Item
Theodore Gericault (1791-1824)
Passage du Mont Saint-Bernard
Lithograph, 1822
Signed and titled in the stone
As published in Arnault "Vie politique et militaire de Napoleon"
Condition: Excellent, aging as expected
Image size: 14 x 161 1/4 inches
Sheet size: 18 7/8 x 24 3/8 inches
Reference: Delteil 44 iv/IV, published state
Théodore Géricault
French painter
Born: September 26, 1791 Rouen France
Died: January 26, 1824 (aged 32) Paris France
Notable Works: “The Charging Chasseur” “The Raft of the Medusa”
Movement / Style: Romanticism
Théodore Géricault, in full Jean-Louis-André-Théodore Géricault, (born September 26, 1791, Rouen, France—died January 26, 1824, Paris), painter who exerted a seminal influence on the development of Romantic art in France. Géricault was a dandy and an avid horseman whose dramatic paintings reflect his flamboyant and passionate personality.
As a student, Géricault learned the traditions of English sporting art from the French painter Carle Vernet, and he developed a remarkable facility for capturing animal movement. He also mastered classicist figure construction and composition under the academician Pierre-Narcissse, Baron Guérin. Another student of Guérin, Eugène Delacroix, was profoundly influenced by Géricault, finding in his example a major point of departure for his own art.
As demonstrated by his earliest major work, The Charging Chasseur (1812), which depicts an officer astride a rearing horse on a smoky battlefield, Géricault was drawn to the colourist style of the Baroque painter Peter Paul Rubens and to the use of contemporary subject matter in the manner of an older colleague, the painter Antoine-Jean Gros. At the Salon of 1814, Géricault’s Wounded Cuirassier shocked critics with its mournful subject and sombre colours. While in Florence and Rome (1816–17), he became fascinated with Michelangelo and Baroque art. His chief project at this time was Race of the Riderless Horse, a heroic frieze composition (never completed) depicting a dangerous race that was an annual event.
After returning to France, Géricault drew a group of lithographs on military subjects that are considered among the earliest masterworks in that medium. Géricault’s masterpiece is the large painting entitled The Raft of the Medusa (c. 1819). This work depicts the aftermath of a contemporary French shipwreck, whose survivors embarked on a raft and were decimated by starvation before being rescued at sea. The shipwreck had scandalous political implications at home—the incompetent captain, who had gained the position because of connections to the Bourbon Restoration government, fought to save himself and senior officers while leaving the lower ranks to die—and so Géricault’s picture of the raft and its inhabitants was greeted with hostility by the government. The work’s macabre realism, its treatment of the raft incident as epic-heroic tragedy, and the virtuosity of its drawing and tonalities combine to give the painting great dignity and carry it far beyond mere contemporary reportage. The portrayal of the dead and dying, developed within a dramatic, carefully constructed composition, addressed a contemporary subject with remarkable and unprecedented passion.
Disappointed by the reception of The Raft of the Medusa, Géricault took the painting to England in 1820, where it was received as a sensational success. He remained there for two years, enjoying the equine culture and producing a body of lithographs, watercolours, and oils of jockeys and horses. Upon his return to France, his friendship with Étienne Georget, a pioneer in psychiatric studies, inspired his series of portraits of victims of insanity, each of whom was seen as a “type” of affliction, including Kleptomania and Delusion of Military Command. Repeated riding accidents and chronic tubercular infections ruined his health, and he died after a long period of suffering.
This article was most recently revised and updated by Amy Tikkanen.
Rich impression
- Creator:Jean Louis Andre Theodore Gericault (1791 - 1824, French)
- Creation Year:1822
- Dimensions:Height: 14 in (35.56 cm)Width: 16.25 in (41.28 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Fairlawn, OH
- Reference Number:Seller: FA40401stDibs: LU14012363812
Jean Louis Andre Theodore Gericault
Théodore Géricault was born in Rouen in 1791 into a wealthy family from the Manche region. His father, a magistrate and wealthy landowner, ran a tobacco factory. The family moved to Paris around 1796, and in 1810 Théodore Géricault entered Carle Vernet's studio, where he met his son Horace. He then studied with Pierre-Narcisse Guérin before enrolling on February 5, 1811 at the École des Beaux-Arts in Paris, where he pursued a classical training based on copying the masters at the Louvre Museum. Géricault was expelled from the École des Beaux-Arts in 1812 for his misconduct; he then rented a back store on rue de la Michodière, where he painted one of his first masterpieces, a portrait of an officer of the imperial guard (the Lieutenant Dieudonné) charging while on horseback. This painting was exhibited at the 1812 Salon and won him the gold medal at the age of 21! Géricault became a sought-after painter, specializing in military subjects. Géricault falled in love with his aunt Alexandrine Caruel de Saint-Martin (the wife of his mother's brother). Aged 28 years younger than her husband, she was only 6 years older than him. From this affair, which lasted for many years, a son Georges-Hippolyte was born in 1818. After a short engagement in King Louis XVIII's Company of Grey Musketeers, Géricault, disappointed at not winning the Prix de Rome, spent two years in Italy. On his return in 1817, he embarked on the creation of his masterpiece, The Raft of the Medusa, which was exhibited in the Louvre in 1819 and was negatively received by the critics. The presentation of the Raft in London in 1820 brought Géricault to the English capital, first for a two-month period between April and June 1820, then again in 1821 after a return to the continent and a stay in Brussels. The painting was triumphantly received in England (partly for the opposite political reasons to those that had led to its unsuccessful reception in France), and 50,000 visitors flocked to Bullock's gallery where it was exhibited during six months. In November 1821, Géricault returned home very weakened by a venereal disease contracted probably during his stay in England. He fell off his horse several times, and in August 1823 broke his back in a fall. He died at the age of thirty-two on January 24, 1824, after a long agony.
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